Treatments and subjects Books

Book SynopsisSince its invention by Andrea Alciato, the emblem is inextricably connected to the natural world. Alciato and his followers drew massively their inspiration from it. For their information about nature, the emblem authors were greatly indebted to ancient natural history, the medieval bestiaries, and the 15th- and 16th-century proto-emblematics, especially the imprese. The natural world became the main topic of, for instance, Camerarius’s botanical and zoological emblem books, and also of the ‘applied’ emblematics in drawings and decorative arts. Animal emblems are frequently quoted by naturalists (Gesner, Aldrovandi). This interdisciplinary volume aims to address these multiple connections between emblematics and Natural History in the broader perspective of their underlying ideologies – scientific, artistic, literary, political and/or religious. Contributors: Alison Saunders, Anne Rolet, Marisa Bass, Bernhard Schirg, Maren Biederbick, Sabine Kalff, Christian Peters, Frederik Knegtel, Agnes Kusler, Aline Smeesters, Astrid Zenker, Tobias Bulang, Sonja Schreiner, Paul Smith, and Karl Enenkel.Trade Review“Emblems and the Natural World is not simply a series of motif studies; instead, it offers the first major foray into what must become a vital subject of analysis for emblem scholars. […]. With its painstakingly researched essays and gorgeous and plentiful full-color illustrations, [it] will surely inspire new growth in the field of emblem studies and further research into the complex literary and artistic symbolism of the natural world.” Deanna Smid, Brandon University. In: Renaissance Quarterly, Vol. 72, No. 1 (spring 2019), pp. 281-283. “Emblems and the Natural World is a handsomely produced volume, laid out clearly, sturdy in the hand, and generously illustrated throughout, often in color, and with a crisp quality that throws up a pleasing degree of detail. […] this is a volume to be highly commended, full of interest, variety, depth of argument, and fresh insights into one of the defining territories of the early modern emblem: its dependence upon the rich abundance of the Liber naturae.” Simon McKeown, Marlborough College. In: Emblematica, Vol. 2 (2018), pp. 371-378.Table of ContentsAcknowledgements Notes on the Editors Notes on the Contributors List of Illustrations 1 Introduction: Emblems and the Natural World (ca. 1530–1700)  Karl Enenkel and Paul J. Smith Part 1: Emblemetic Zoology—Zoological Emblem Books 2 “Natural” or “Unnatural”? Representation of the Animal World in Early French Emblem Books  Alison Saunders 3 Camerarius’s Quadrupeds (1595): A Plinius Emblematicus as a Mirror of Princes  Karl Enenkel 4 Joachim Camerarius’s Emblem Book on Birds (1596), with an Excursus on America’s Great Seal  Paul J. Smith 5 Ichthyology and Emblematics in Conrad Gesner’s Historia piscium and Joachim Camerarius the Younger’s Symbola et Emblemata  Sophia Hendrikx 6 The Daphnic Fate of Camerarius. Sweden’s First Printed Emblem Book Revealed in Olof Rudbeck the Younger’s Botanical Dissertation (1686)  Bernhard Schirg 7 Tradition and Empirical Observation—Nature in Giovio’s and Symeoni’s Dialogo Dell’ Imprese from 1574  Maren C. Biederbick Part 2: Emblem Books on Physical Phenomena 8 Comets—Celestial Objects in the Emblem Tradition of the Late Seventeenth and Early Eighteenth Century  Sabine Kalff 9 Atmospheric Pressure: Natural Philosophy, Political Didactics and the Exigencies of Praise in Franz Reinzer’s Meteorologia Philosophico-Politica (1698)  Christian Peters Part 3: The Applied Use of Natural Emblems, Especially in Monarchial and Courtly Contexts 10 Transcending the Natural World: A Developing Sublime in André Félibien’s Tapisseries du Roy  Frederik Knegtel 11 ‘Maiestatis Hungariae Aquila’: Christoph Lackner and the Hieroglyph of the Habsburg Eagle  Agnes Kusler 12 The Secretion of a Pearl as a Symbol for the Birth of a Prince  Aline Smeesters 13 The Taming of the Lion: Passions, Power and Religion in Achille Bocchi’s Symbolicae Quaestiones (Bologna, 1555)  Anne Rolet Part 4: The Hermeneutic and Didactic Use of the Natural World 14 The Sagacity of Owls and the Mimetic Obscurity of Emblems in Joris Hoefnagel’s Four Elements  Marisa Anne Bass 15 The Owl and the Birds: Speeches, Emblems, and Fountains  Astrid Zenkert 16 Hermeneutic Animals—Johann Fischart’s Use of Emblems in his German Translation of Rabelais  Tobias Bulang 17 Orbis pictus For Boys—Emblematics for Men: Some Remarks on Learning by Studying Pictures and Interpreting Riddles  Sonja Schreiner Index Nominum

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Book SynopsisMaking Copies in European Art 1400-1600 comprises sixteen essays that explore the form and function, manner and meaning of copies after Renaissance works of art. The authors construe copying as a method of exchange based in the theory and practice of imitation, and they investigate the artistic techniques that enabled and facilitated the production of copies. They also ask what patrons and collectors wanted from a copy, which characteristics of an artwork were considered copyable, and where and how copies were stored, studied, displayed, and circulated. Making Copies in European Art, in addition to studying many unfamiliar pictures, incorporates previously unpublished documentary materials.Trade Review“The collected essays will be of interest to early modernists in a broad range of disciplines but may be of particular interest to those interested in the art market and cross-cultural studies.” Theresa Kutasz Christensen, in: Renaissance Quarterly, Vol. 73 , No 4 (Winter 2020), pp. 1365–1366.Table of ContentsAcknowledgments List of Illustrations Notes on Contributors Introduction to Making Copies in European Art 1400–1600: Shifting Tastes, Modes of Transmission, and Changing Contexts  Peter M. Lukehart Essays 1 Jan van Eyck’s Arnolfini Portrait and Copies after His Woman and Her Toilette: Recollections of the Alhambra’s Constellation Halls, the Hamman, and Alchemy  Barbara von Barghahn 2 Models and the Practice of Drawing in Eastern Spain, 1370–1450  E. Montero Tortajada 3 Eyckian Icons and Copies  Larry Silver 4 Copies after the Ghent Altarpiece for Spain: Four Case Studies  Leslie Blacksberg 5 Following Bosch: The Impact of Hieronymus Bosch’s Diableries and Their Reproduction in the 16th Century  Maddalena Bellavitis 6 Tratta da Zorzi: Giulio Campagnola’s Copies after other Artists and His Use of Models  Irene Brooke 7 Virgin and Child with the Milk Soup after Gerard David: Series of Paintings on the Same Theme after Known Models  Catheline Périer-D’Ieteren 8 Not Just Copies but Variations, Suggestions, Interpretations and Critical Reception: Joos van Cleve and the Lost Madonna of the Cherries by Leonardo da Vinci  Mari Pietrogiovanna 9 Copies and Derivations of Giorgionesque Inventions: An Insight into the Visual and the Historical Sources  Sarah Ferrari 10 Copies of Raphael’s Mythological Paintings in the Collection of Cardinal Ludovisi  Claudia La Malfa 11 From Workshop Master to the Artist’s Individuality  Ana Calvo 12 Jacopo Bassano and the Prints from Raphael’s Masterpieces  Claudia Caramanna 13 Que se haga al modo y manera de [….]: Copy and Interpretation in the Visual Arts in Aragón during the 16th Century  Carmen Morte García 14 Early Netherlandish Devotional Images, Their Copies and Their Metamorphosis in Aragonese Culture through Peripheral Areas  Caterina Virdis Limentani 15 Marketing Workshop Versions in the 17th-century Dutch Art Market  Angela Ho 16 Pictorial Copies in Granada during the Early Modern Age  David García Cueto Coda Index

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Book SynopsisEmotions, Art, and Christianity in the Transatlantic World, 1450–1800 is a collection of studies variously exploring the role of visual and material culture in shaping early modern emotional experiences. The volume’s transatlantic framework moves from The Netherlands, Spain, and Italy to Mexico, Peru, Ecuador, and the Philippines, and centers on visual culture as a means to explore how emotions differ in their local and global “contexts” amidst the many shifts occurring c. 1450–1800. These themes are examined through the lens of art informed by religious ideas, especially Catholicism, with each essay probing how religiously inflected art stimulated, molded, and encoded emotions. Contributors: Elena FitzPatrick Sifford, Alison C. Fleming, Natalia Keller, Walter S. Melion, Olaya Sanfuentes, Patricia Simons, Dario Velandia Onofre, and Charles M. Rosenberg.Trade Review“Emotions, Art and Christianity is a beautifully constructed edited collection that enhances our understanding of early modern faith practices and their emotional dimensions across the transatlantic world.” Katie Barclay, University of Adelaide. In: Journal of Jesuit Studies, Vol. 9, No. 3 (2022), pp. 467–469.Table of ContentsAcknowledgments List of Illustrations Abbreviations Notes on Contributors Emotions, Art, and Christianity in the Transatlantic World  Lauren Kilroy-Ewbank and Heather Graham PART 1: Jesuits and the Visual Language of Emotions 1 The Emotions of Ignatius of Loyola and the Mental Pictures of the Spiritual Exercises  Alison C. Fleming 2 Allegory and Affective Experience in Thomas Sailly, S.J.’s Thesaurus precum et exercitiorum spiritualium of 1609  Walter S. Melion 3 O Tristissimum Spectaculum: Affective Responses to a Passional Iconography of the Seventeenth and Eighteenth Centuries  Dario Velandia Onofre PART 2: Gendered Emotions 4 A Mother’s Wise and Prudent Grief: Reading Raphael’s Baglioni Entombment through the History of Emotions  Heather Graham 5 To Weep with Mary and Mourn for Christ: Luis de Morales and the Facilitation of Emotional Communities in Badajoz, Spain  Lauren G. Kilroy-Ewbank PART 3: Emotional Communities and the Christ Child 6 “Kiss the Feet of the Infant Jesus”: The Emotional Efficacy of Early Christ Child Sculptures in Europe and Beyond  Patricia Simons 7 The Vocabulary of Tenderness: Maternal Feelings towards the Christ Child among Spanish American Nuns  Natalia Keller and Olaya Sanfuentes PART 4: Emotions Transformed 8 “The Kernel and Soul of Art”: Emotions in Rembrandt’s Religious Etchings  Charles M. Rosenberg 9 A Fly in Milk: Fear and Black (In)visibility in New Spanish Painting  Elena FitzPatrick Sifford Index

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Book SynopsisThis volume addresses the interdependencies between visual technologies and epistemology with regard to our perception of the medical body. It explores the relationships between the imagination, the body, and concrete forms of visual representations: Ranging from the Renaissance paradigm of anatomy, to Foucault’s “birth of the clinic” and the institutionalised construction of a “medical gaze”; from “visual” archives of madness, psychiatric art collections, the politicisation and economisation of the body, to the post-human in mass media representations. Contributions to this volume investigate medical bodies as historical, technological, and political constructs, constituted where knowledge formation and visual cultures intersect. Contributors are: Axel Fliethmann, Michael Hau, Birgit Lang, Carolyn Lau, Heikki Lempa, stef lenk, Joanna Madloch, Barry Murnane, Jill Redner, Claudia Stein, Elizabeth Stephens, Corinna Wagner, and Christiane Weller.Table of ContentsAcknowledgements List of Illustrations Notes on Contributors Intoduction  Axel Fliethmann and Christiane Weller PART 1: The Epistemology of Anatomy and Aesthetics 1 Rembrandt and the Dutch Cartesians: The..Medical Body and the Body of Christ in the Anatomy Lessons  Jill Redner 2 Pathologies of Imagination and Medical Visual Culture in Early Modern Europe  Axel Fliethmann 3 Re-Imagining the “Birthing Machine:” Art and Anatomy in Obstetric and Anatomical Models Made by Women  Elizabeth Stephens 4 The Body in Motion: The Image of Man in Physical Education in Late Eighteenth-Century Schnepfenthal  Heikki Lempa PART 2: Identity and Visual (De)Formation 5 Photography, Arrested Development, and the Facial Expression of Emotion  Corinna Wagner 6 The Living and the Dead in Nineteenth- and Early Twentieth-Century Medical Portraiture  Joanna Madloch 7 Picturing Pathology: An Affirmative Reading of Lam Qua’s Medical Portraiture  Carolyn Lau 8 “The Quickening:” Embryonic Stages in Visualising and Understanding Depression and Anxiety  stef lenk PART 3: Power, Consumption and the Pathological Body 9 Capitalism without Desire: Economic Thinking and the Visualisation of the Biomedical Body ca. 1900  Claudia Stein 10 The Pitfalls of Utilitarianism: Capillary Images and Biopolitical Interventionism during the Weimar Republic  Michael Hau 11 Sex Murder, Photographic Evidence, and the Weimar Cultural Imagination  Birgit Lang 12 Imagining Madness: The Conceptualisation of Mental Illness in Psychiatric Art Collections  Christiane Weller 13 Biomedia in the Flesh: Imagining Biomedical Interventions as Horror  Barry Murnane Bibliography Index of Names Index of Subjects

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